‘The Russian-British violinist Alina Ibragimova, versatile, virtuosic and astute in every kind of repertoire (listen to her play Bach), has established an ideal partnership with the State Academic Symphony Orchestra of Russia 'Evgeny Svetlanov' and the conductor Vladimir Jurowski. In musical perception and integrity to the score, you couldn’t find a better match. Their Shostakovich Violin Concertos capture every twist and subtlety, as well as letting rip in the angry outbursts’ (The Guardian)» More

‘Ibragimova is a hugely serious artist, seeking out the depths in everything she plays, and she certainly allows no glimmer of a smile or humour anywhere in these two concertos … the result is an interpretation [of No 1] that is hugely intense, especially at the wonderful moment when Ibragimova brings her tone right down a tiny thread of sound, as fragile as a bird’s egg. Her approach can be powerfully moving … Ibragimova’s determination to monumentalise the tragic aspect of these concertos is mighty impressive’ (The Daily Telegraph)

‘Following up on Andrey Gugnin’s first Hyperion disc, of Shostakovich, this eighty-one-minute, five-star, successor is a piano-fancier’s delight. If you’re going to revive twenty-one largely forgotten encores—the only readily familiar one here is Liszt’s La campanella in Busoni’s 1915 transcription—then here’s how to do it. Breathtaking musicality, sterling pianism, a fabulously toned, gravity bass-ed, German handmade Bechstein D282, evocative space and acoustic, demonstration engineering … Gugnin is an exalted pianist. He puts me in mind of the brilliance, the white-knuckle electricity of Lewenthal, Earl Wild, Ivan Davis, the high-octane emotions of Cziffra, the young Volodos. Award-winning, edge of the seat stuff’ (colinscolumn.com)

‘Closely miked, Ibragimova is a powerful, multi-toned soloist in these two performances … within the intensity conjured up by this dynamic all-Russian collaboration she brings empathy and generosity to melodies, she dares reckless play and creates spectral stillness … here, Ibragimova restores Shostakovich's original plan that sees the fearless soloist continue to play through the introduction and propel the action without a break. Besides flawless technique you need stamina and pacing to pull this off; she has it all in spades … it's my Disc of the Week … the weight of those very particular Russian hues captured wonderfully in the spacious recorded sound … Alina's lived with this concerto since her teens, and in recording it now swung the balance of the relatively small amount of Russian repertoire she's previously committed to disc. It's been well worth the wait.’ (BBC Record Review)

‘Throughout the disc the musicians sing with splendid attention to detail; each voice is a shimmering thread that is woven into the dense tapestry of sound they create. There is a delicate musical balance that they maintain throughout all of the works that only increases my admiration for this group and Hyperion’s commitment to promote their exemplary work. Hyperion’s engineers have excelled in a recording of demonstration quality. There is also a well-produced accompanying booklet which gives not only the texts and translations but also an article devoted to helping the listener understand the musical attributes of each work. Highly recommended’ (MusicWeb International)» More

‘Jurowski’s team and Ibragimova’s solo line effortlessly dovetail. Darkly meditative one moment, febrile with passion the next, she presses ahead with characteristic freshness and muscular force, and never disappoints. Typically, Ibragimova also finds the energy to refuse Shostakovich’s offer of a few bars’ respite after the third movement’s mighty cadenza, a revision instigated after pleas from the concerto’s dedicatee, David Oistrakh … Ibragimova and Jurowski’s musicians make ideal partners’ (The Times)

‘James O’Donnell and his fine choir give an excellent performance of these incomparable Parry songs … the technical side of the recording was in the highly experienced hands of David Hinitt (engineer) and Adrian Peacock (producer). They’ve achieved very satisfying results in the acoustic of All Hallows Church, Gospel Oak, which seems ideally suited to repertoire such as this. The booklet essay is by Jeremy Dibble, who writes with his customary authority in these matters’ (MusicWeb International)» More

‘A selection that focuses on the lyrical and folk-like, thus playing to several of Robin Tritschler’s particular strengths, not least a certain fresh directness of interpretation, if interpretation is the word for such unmannered and non-interventionist singing. Much is achieved though Tritschler’s care for line and tone and word-meaning, without seeming on first hearing to do much more than deliver what is written. But this is an art that conceals art, and this particular selection of items is supremely well served by it. Of course he is blessed with the most appealing vocal charm, instantly recognisable, and an instinctive feeling for style. But here the honey-toned Irish troubadour comes of age as a great lieder singer … very highly recommended. After six years or so of reviewing for this site, I have yet to suggest an unassailable personal ‘record of the year’ for MusicWeb’s annual listing. Now I have one before May is out’ (MusicWeb International)» More

‘It is a tribute to the quality of Stephen Hough’s musicianship that the new cycle’s most memorable performance should be that of Beethoven’s Janus-like Third Piano Concerto, the one—on record at least—that has often proved the most elusive … a soloist whose fineness of touch and sharpness of delineation recall those of such predecessors as Solomon and Gilels’ (Gramophone)

‘Dishing up a rich, lusciously executed bowl of nostalgia, Jonathan Griffith conducts with evident relish and affection … it'll be interesting to see if others follow where Griffith has boldly led’ (BBC Music Magazine)

‘Gugnin's masterful fluidity in the scurrying passages [of Blumenfeld's Étude pour la main gauche seule] is impressive; so is the judicious use of pedal. As with the subsequent Gabrilowitsch study, it's diffcult to believe that this music is performed by just five digits … Gugnin brings out the Chopinesque colours in [Hofmann's] 'Vision' and 'Nenien', while 'Jadis' is more playful. The sound quality is pristine throughout’ (BBC Music Magazine)

‘A masterpiece, one of the great works of 20th-century choral music … the recording quality is superb as are all the performers, though Helena Dix stands out in her liquid navigation of the high soprano lines’ (British Music Society Journal)» More